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That Peto's images seem to be continually solidi- fying and decomposing as we look at them may come in part from the fact that he was often channelling his feel- ings through another man's forms. Peto was possibly drawn to Harnett, and Harnett was possibly encouraged by the younger man's attentiveness, because they were both no-nonsense professionals. Most of the other trompe-I' oeil artists made their pic- tures for a while, then switched to completely different kinds of painting, or were methodical eccentrics who could put away their brushes for twenty years if they didn't have a par- ticular visual joke they wanted to paint. Peto and Harnett, though, wanted to make a splash both at Acad- emy exhibitions and with people and businesses that had little interest in art. Peto was probably even more of a go- getter. In his late twenties, when he was first hitting his stride, he seems to have thought of himself as a smart businessman-artist. The earliest ex- amples of his letter-rack pictures are charming glorifications of the idea of men working among other men. Com- missioned by professional men Peto knew in Philadelphia, the paintings are veiled portraits of individuals and their occupations, made up of calling cards, advertisements, and mementos stuck in and out of crossed tapes tacked to a wall. Peto's eagerness shows in the photo- graphs of him in the book, too. They are almost as mesmerizing as his paintings. He has the look in many of them of a man whose belief in himself as a success or a failure changes daily. One of the best is of Peto and Harnett in Peto's studio in Philadelphia. The time is the eighteen-seventies, when they must have been keeping tabs on each other's development. Hand- some, dark-haired, and conservative- ly dressed, a faint smile visible beneath t his bushy mustache, Harnett looks bemusedly off to one side of the pho- tographer. Nattier and more bohemian in appearance, Peto holds his violin AUGUST 15, 1983 ,. f , '\ \ < 1\ .......... .,... EnJOY the Museum of lìne Arts, Boston at home Send for the Museum of Fine Arts' gift cat- alogue and explore 50 full-color pages of beautiful reproductions from our renowned collections. This striking Steinlen Cats poster is just one of the 15 new color posters in our catalogue, available September 1. ---------- o Please send me the Steinlen Cats poster (21" x 28 1 /4"). o Unframed. Enclosed is $12.00 I (plus $3.75 shipping and handling) I o Framed (black metal) with acrylic pane Enclosed is $58.00 (plus $6.00 shipping I and handling). o I'd like a one-year subscription to the I Museum catalogue. Enclosed is $1.00 I to cover mailing costs. Name I I I I I I I I I Street I Ci I I State Zip Code I L Mail to: The Museum of Fine Arts Dept 3 N J 8 PO Box 1044 Boston, MA 02120 ---------- imPly the finest Place to stay in Northeastern New York. 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